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For its second offering of the season, the Chamber Music Society of Williamsburg, Tuesday, brought a blue-ribbon ensemble to the Library Theatre. The Johannes Quartet was formed 18 years ago from associations at the Marlboro Music Festival. Under the guidance of the esteemed Guarneri String Quartet, the Johannes has established itself as a first-class operation.

Among them, they have distinguished positions with the likes of the Philadelphia Orchestra, Los Angeles Philharmonic, Boston Symphony, New England Conservatory of Music and Jacobs School of Music at Indiana University. It’s a blue-ribbon ensemble that provided the sold-out season house an evening of diverse and dynamically played music: Mozart’s String Quartet No. 20 in D Major, Bartok’s String Quartet No. 3, and Ravel’s String Quartet in F Major.

To the fare, the Johannes (Soovin Kim and Julianne Lee, violin; C.J. Chang, viola; Peter Strumpf, cello) brought finely matched technique, unified interpretation and execution, artistic nuance, and a solid, blended sound.

Mozart’s D Major is not unlike most of his writing; it’s delicate, concise, perfectly constructed, lyrical, and pleasure producing. Although it sounds essentially cheerful, there remain underlying aspects that suggest a degree of emotional darkness or distance, surfacing first in the thoughtful Adagio and finding greater awareness in the closing Allegro wherein playfulness and underlying tumult merged. The performance was as perfectly executed as was the score written.

Quite contrasting in sound and spirit was the Bartok, clearly the evening’s playing and listening challenge and thus wisely placed between the Mozart and Ravel. Written in four extended, non-stop sections, the work is built around dissonance, fury, rhythmic shifts, unusual bow positions and applications, pizzicati and glissandi. The result is intellectually and musically challenging.

Kim offered explanatory comments prior to its playing in which he urged listeners to not be intimidated by the dissonances and structure and to accept them as colorful touches. Good and wise words. Typical of Chamber Music audiences, the reception of the often strident work was enthusiastic and welcoming. Its playing was exceptional, emotional and involved, especially considering its substantial challenges.

Closing the colorful evening’s music was the Ravel. Although he did not readily accept classification as an impressionistic composer, he was just that. In this, his only string quartet, Ravel’s music, like much of his output, was a shimmering collection of colorful, luxurious sounds and dreamy imagery. The F Major offers sweeping lines and surging emotions, delicacy and drama, truly an exquisite creation.

From the opening lyricism of the Allegro through the pizzicato-themed lines and introspection of the second and third movements to the finale with its fast and furious pace, the ensemble’s playing was visceral, sensitive, sweeping, and sweet.

Despite their individually busy careers as soloists, guest artists, principal orchestral musicians, and teachers, the Johannes manages to tour extensively and bring its exciting playing to audiences across the country. How fortunate we are that they have now been added to the lengthy roster of top quality ensembles the Chamber Music Society has provided us for nearly 30 years.

Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”